SIFF enters its second busy week today

Published 10:00 pm, Thursday, May 26, 2005

The 31st Seattle International Film Festival enters its second busy week today, and during the next seven days its schedule is packed with no less than 121 film programs at four venues: Egyptian, Broadway Performance Hall, Harvard Exit and Neptune.

The first of SIFF '05's several filmmaking panel discussions, "Film Funding" will take place tomorrow at 11:15 a.m. at the Broadway Performance Hall; and another high-touch event, the annual "Fly Film" program will be Sunday at 1:30 p.m. at the Egyptian.

Over Memorial Day weekend, the Egyptian also will host three locally made documentaries that feature penetrating looks at local subjects: "The Gits" (tomorrow, 9 p.m.), "Going Through Splat: The Life and Work of Stewart Stern" (Sunday, 6 p.m.) and "Fisherman's Terminal" (Monday, 6:30 p.m.).

Meanwhile, the Harvard Exit will be the setting for two of the year's top archival programs: the 1975 British World War II epic "Overlord" (tomorrow, 7:15 p.m.; repeated Monday, 4:15 p.m.); and the 1956 film noir, "Nightmare," starring Edward G. Robinson and Seattle's Kevin McCarthy (Wednesday, 7:15 p.m.).

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And the Broadway Performance Hall has two of the festival's 10 short-film packages: "¡Cinema Fantastico!" featuring short films from Spanish-speaking countries (tomorrow, 9:15 p.m.);" and "Geek Love," films about "loners, freaks, nerds and geeks looking for love in their own unique way" (Monday, 9:15 p.m.).

The following are capsule reviews of films playing today through Sunday. (Reviews for films screening Monday through Thursday will run daily in the P-I in the Life & Arts section.)

PIZZA (U.S.) : "What a girl really wants for her birthday is a ticket out of hell," admits rotund misfit Cara Ethyl, and she gets one in the form of the aging slacker hunk who delivers the pizzas to her pathetic, guest-free party. On escape, the pair cruise around town, and Cara discovers some of her own worth while the shine of her rescuing knight starts to dull. Like Wes Anderson's "Rushmore," this low-budget charmer captures the humiliating rot of high school hierarchy for a bright, imaginative teen that prefers the word "fisticuffs" to "fight." This sweet anti-romance offers hope that, like Cara, filmmaker Marc Christopher is someone we can expect to bloom. (G.T.) Grade: A-

Plays at 6:45 p.m., BPH; plays again Sunday at 4 p.m., BPH

KEKEXILI: MOUNTAIN PATROL (China): It's not just the desert that's harsh in this riveting dramatization of the volunteer patrols that tried to protect the Tibetan antelope. Demand for the antelope's exotic wool has shrunk their herds from millions to thousands. A Beijing journalist accompanies the small team of villagers led by craggy, stolid Ri Tai into the mountainous wastes as they chase the poachers that murdered their comrade. There are few villains or selfless heroes in writer/director Lu Chuan's portrayal, from the displaced shepherds hired to skin the massacred animals to the young patrol member hooked on reckless adventure. With its tribute to the brutal landscape and absence of illusion, it sucks you in as thoroughly as the Kekexili quicksand. (G.T.) Grade: A-

Plays at 4:45 p.m. Egyptian

BARS IN THE MEMORY (Spain): Manuel Palacios' chilling and heartbreaking documentary about Spain under the Franco dictatorship is fiercely moving. More, its unearthing of the atrocities that occurred in the more than 100 concentration camps -- as well as the rebuilding of the country after Franco's death in 1975 -- leaves a sad, cautionary legacy in the "pact of oblivion" that was agreed to between state and the people who suffered so monstrously. Interviews with camp survivors show such dignity and spirit that it's no wonder they could not be annihilated, as Franco wished. It's a history that encourages the "healing of wounds so young people today can realize how easily freedom can be lost" and it lingers as a warning to the world. (P.N.) Grade: B+

Plays at 2 p.m., BPH

MAREBITO (Japan): Takashi Shimizu is most famous for remaking his own "Ju-On" as the American horror film "The Grudge." This first-person fantasy is one wigged-out horror that won't be remade stateside. Shinya Tsukamoto (director and star of "Tetsuo") is a video cameraman who becomes more and more disconnected from any kind of reality as he lives through his camera lens. Obsessed with a forbidden vision of terror, he goes on a subterranean journey to a Lovecraftian Hollow-Earth realm beneath Tokyo (talking to ghosts along the way) and returns with a feral girl he keeps locked in his apartment like an enormous, blood-sucking kitten. It's grotesque in an insidious way. Shimizu delivers blood and brutality with a dispassionate directness, making it less scary than unnerving and simply mad. (S.A.) Grade: B+

Plays at 2 p.m., Egyptian

TONY TAKITANI (Japan): Jun Ichikawa's rigorously stylized drama (adapted from a story by Haruki Murakami) follows a fastidious, socially withdrawn illustrator (Ogata Issey) whose renown for mechanical drawings are as impressive as his life drawings are disconnected from their subjects -- much like his real life. And then he falls in love. Ichikawa pieces together his existence in handsomely framed glimpses edited together in a dreamy, almost abstract quality, keeping it coolly removed from the drama onscreen. What could have been a cold, lifeless exercise is actually quite compelling (if not quite warming), like an impressionistic documentary of a man resigned to his loneliness. Unusual and accomplished, it's too removed to really communicate his triumph, but it does capture something insightful about loss, isolation and the baggage of the past. (S.A.) Grade: B+

Plays at 4:30 p.m., BPH; plays again Wednesday at 9:30 p.m., Egyptian

GREEN HAT (China): "Green hat" is slang for a man cuckolded by a woman, as the opening titles explain in the directorial debut of Liu Fendou (who wrote previous SIFF films "Shower" and "Spicy Love Soup"). Though it begins with a heist that goes off without a hitch and descends into a botched getaway and a volatile hostage situation, Liu is less interested in the mechanics of crime than the jagged romantic relationships and betrayals that drive the crooks and cops. Liu's tale of love and sex and satisfaction and frustration, with a sprinkling of impotence and humiliation tossed in, is loaded with more sexual frustration than any Chinese film before it. His playful plotting has a tendency to lose the story but his imaginative imagery and narrative turns keep the film compelling. (S.A.) Grade: B

Plays at 2 p.m., Neptune

CHILDSTAR (Canada): "No responsible adult would encourage a child to make movies." Don McKellar writes, directs and stars in this showbiz satire as an out-of-work experimental filmmaker hired to drive around a demanding, self-involved adolescent sitcom star (Taylor Brandon Burns), who is in Toronto to crank out an absurd Hollywood thriller while he's still "cute." Soon he's the boy's tutor and flawed father figure, and the boy's blithely crafty but maternally deficient mother (a glazed-over Jennifer Jason Leigh) even makes him legal guardian. The wry but cutting humor is best when McKellar leaves the Hollywood stereotypes for the people caught up in the mercenary social politics. Everyone has their reasons and their price, but McKellar is understanding and even forgiving of them. (S.A.) Grade: B-

Plays at 7:15 p.m., Neptune; plays again Monday, at 11:30 a.m., HE

SAVING FACE (U.S.): "I am not a bad mother. You are not gay." Alice Wu's directorial debut joins a growing sub-genre of romantic comedies set in ethnic communities in the U.S., where culture clash complicates family relations. "Saving Face" adds sex to the mix: thoroughly American Wilhelmina (Michelle Krusiec) is a lesbian yet to come out to her traditional family. Widowed Ma (Joan Chen) creates her own scandal when she becomes pregnant and, ostracized from friends and family, moves in with Wilhelmina, which cramps Wil's already rocky romance with an out and proud ballerina. Wu doesn't take any chances or create any surprises -- love conquers all cultural great walls once again -- but she has good comic sense and a pleasant community of characters. (S.A.) Grade: B-

Plays at 7 p.m., Egyptian

THE STORY OF MY LIFE (France): Raphael (Edouard Baer) is a ghost writer of celebrity autobiographies. He never puts his name on the cover or reveals himself on the page and he lives his life the same way. He won't open up to his forthright, perceptive and bracingly honest girlfriend (an engaging Marie-Josée Croze) and he's willing to risk everything when he (literally) runs into his college romantic fantasy (Alice Taglioni), a caustic beauty dating his latest client, an arrogant soccer star. Laurent Tirard's comedy brings a bright, wry humor to the familiar journey of a coasting-through-life thirtysomething finally forced to put himself on the line. It goes for wry laughs over raw honesty, but Baer is a likeable schlub and his comically disastrous dates are inspired. (S.A.) Grade: B-

Plays at 9:30 p.m., Neptune; plays again Sunday at 2 p.m., Neptune

APRES VOUS (France): It's the kind of comedy the French adore: opposites meet, one wreaks havoc on the other and the pair wind up trading lives. Daniel Auteuil plays Good Samaritan Antoine, a fussy headwaiter at a chic Paris restaurant who comes across a jilted schlub (Jose Garcia) trying to end it all in a park, saves him, takes him home and helps him regain his confidence. Never mind that it ruins Antoine's bank account, job and relationship in the process. The first 30 minutes are light and fun and it's nice to see the usually brooding Auteuil lighten up but after awhile the jokes run dry, the cast is tiresome and the direction by Pierre Salvadori proves the road to hell is paved with good intentions for not just the characters but the audience. (P.N.) Grade: C-

Plays at 5 p.m., Neptune

MURDERBALL (U.S.): Moviegoers expecting a "Rollerball" or "Road Warrior" will be disappointed with this tame documentary about the rivalry between U.S. and Canada teams for the Silver Star in quadriplegic rugby at the 2004 Paralympics. Although the sport is not nearly as violent as the film's title suggests, the filmmakers do a decent job of profiling the handicapped athletes. The two primary subjects, Mark Zupan (top player on the U.S. team) and Joe Soares (gold medal winner who became Canada's coach after failing to make the U.S. squad), slam home the point that strong-willed people who become disabled do not lose their competitive edge. The film's focus is on the rehabilitative properties of the game, with little time given over to the sport itself. (B.W.) Grade: C-

TOMORROW

THE WORLD (China): The strange new world of modern China in the global economy gets a marvelous metaphor in former underground director Jia Zhangke's new drama. Set behind the scenes of the real-life World Park, a theme park with miniature reproductions of everything from the pyramids to the Parthenon, London Bridge to a Manhattan skyline (where, they brag, their Twin Towers are still intact), it paints a vision of a Beijing of immigrants: everyone is from elsewhere and on their way to somewhere else. It's the global community in a fishbowl, where life is short, identity is fleeting and human connection is the only thing that gives all this flurry any meaning. Jia's empathy for his characters as they try to create a life for themselves makes the metaphor resonant. (S.A.) Grade: B+

Plays at 4:15 p.m., HE

THE GITS (U.S.): The rape and murder of singer Mia Zapata hangs over "The Gits" just as the slaying of Meredith Hunter at an Altamont concert gave a deathly cast to "Gimme Shelter." The joy, passion and excitement of Seattle's girl-punk heyday is overshadowed by the knowledge of its gruesome end. Formed at Ohio's Antioch University in 1986, The Gits might have been just another band were it not for the singer's remarkable voice. They came to Seattle in 1989 to learn about the music business and found themselves at the center of a revolution. The film offers remarkable footage of parties and rehearsals in the Rathouse, the band's Capitol Hill home, as well as performances in legendary Seattle dives. The final third of the film covers the period from Zapata's death to the conviction, 10 years later, of her killer. It details the grass-roots response to the tragedy, including the formation of self-defense group "Home Alive." (B.W.) Grade: B-

Plays at 9 p.m., Egyptian; plays again Monday at 3:45 p.m., Egyptian

IZO (Japan): Takashi Miike's oddball revenge film is another of his sprawling, perversity-strewn adventures, tossed together with headlong fervor and slapdash style. Izo is a restless warrior spirit who tries to fight his way out of the spirit world and back to Earth, slashing his way through one circle of hell after another in an unending video game of a combat movie. Miike tweaks his set pieces with blasts of creative insanity and wicked humor (a SWAT invasion of a 19th-century samurai setting is just one off-beat set piece) and even gives his anti-hero a growling troubadour (1960s folksinger Kazuki Tomokawa), but it's less a story than a cinematic playground for Miike and his bloody fun. Takeshi Kitano has an extended cameo as the Prime Minister of the Underworld. (S.A.) Grade: B-

BOATS OUT OF WATERMELON RINDS (Turkey): Ahmet Ulucay's sweet, meandering tale of childhood innocence and movie dreams in mid-1960s Turkey is a familiar coming-of-age film in all but the details. Two adolescent village buddies, both apprenticed to masters in the nearby city, spend their days off working on their homemade projector. Meanwhile, one of them (Ismail Hakki Taslak) falls in love with an older teenage girl who dismisses him as a hick ragamuffin. Ulucay works too hard on his whimsical flourishes -- they feel contrived rather than casual -- but watching the boys yank the film manually through the plywood box with a flashlight bulb, furiously pumping their hands like shutters to turn the blur into a moving picture, is delightful. (S.A.) Grade: C+

Plays at 11 a.m., HE; plays again June 3 at 7:15 p.m., HE

EARTH AND ASHES (France/Afghanistan): This slow, static search for a son dwells on finding the obvious in the horrors of war. But it has enough anguish in its quiet look at everyday survival in a country ravaged by bombs and brutality for 23 years to not need symbolism. The past, present and future are represented by its three generations of characters -- a grandfather seeking a son while protecting the grandson who lost his hearing during the bombing of their village. The pair trek the scorched and parched landscape, full of landmines and potential peril in order to reach the mine where the son toils. It's a ghost story that, in its scope, can't quite attain a mastery of metaphor. (P.N.) Grade: C+

Plays at 11 a.m., Neptune

EARTHLING (U.S.): The documentary by Wolfgang Bayer and his son, Tristan, a globe-trotting tour through randomly chosen wonders of the still unspoiled natural world, plays like a dozen Imax films chopped into a wildlife anthology. It's ostensibly organized as a two-year family-bonding adventure -- mom Candice and sister Malaika join the boys for trips to the Arctic, Africa, the South Seas and other astounding cradles of nature -- which charts the filmmaking apprenticeship of Tristan. They "play" themselves in contrived re-creations of their adventure (including Wolfgang's heart attack) and stilted behind-the-scenes glimpses, while Tristan's narration is pithy, precious and painful. There's no real focus to the film as it hopscotches across the globe, but the astounding photography couldn't be more breathtaking. (S.A.) Grade: C+

Plays at 11 a.m., Egyptian

THE ART & CRIMES OF RON ENGLISH (U.S.): It might be easy to mistake New York guerrilla artist Ron English's appropriation of popular images like Marilyn Monroe -- here given Mickey Mouse mammaries -- for a copier of Andy Warhol. But where Warhol embraced pop vulgarity with deadpan irony, English shakes his fist. He hijacks billboards, covering commercial huckstering with his own brash satires of ads for fast food, cigarettes and SUVs, or stabs at lockstep conservatism. Filmmaker Pedro Carvajal lauds English and likeminded cronies such as California's Billboard Liberation Front for their "culture jamming" acts against property that, as they note, carry the same criminal penalties as assault with a baseball bat. It fascinates as long as it takes to shout "hooray," until it becomes clear that English is merely an obsessed prankster, masquerading as revolutionary. (G.T.) Grade: C

Plays at 1:45 p.m., BPH

MISSING IN AMERICA (U.S.): A couple of surprising plot twists buoy a film that is otherwise as overcooked as a TV movie of the week. Danny Glover stars as a reclusive Vietnam vet named Jake who has eked out an existence for 30 years far away from society in a lonely Pacific Northwest cabin in the woods (B.C. is the stand-in though Glover's truck has Washington plates). When an old army buddy suddenly appears and leaves his half-Vietnamese daughter with Jake so he can go off and die from the lung cancer he contracted from Agent Orange, the film becomes a very nearly predictable play on reconciliation with the past and regeneration and reorientation into the society that failed him. There's symbolism all over the place, including a lamb and in young Lenny's dual ethnicity as well as in the secrets the characters hold. Despite some solid performances and a bale of good intentions, the film would have benefited from a more restrained approach. (P.N.) Grade: C

Plays at 6 p.m.; plays again Monday at 1:30 p.m., Egyptian

TELL THEM WHO YOU ARE (U.S.): In the spirit of the 2002 SIFF hit, "My Architect: A Son's Journey," this is another documentary study of a famous artist by his traumatized son. Only this time the subject -- multi-Oscar-winning cinematographer Haskell Wexler -- is very much alive and the intensions of the son -- filmmaker Mark Wexler -- are more suspect. They're basically estranged -- Haskell is a legendary radical leftist, Mark is a Bush conservative -- and as Mark follows his dad around with a camera, asking questions, meeting celebrity friends and probing his life, it's clear that he's out to get him. He does -- Haskell comes off as a jerk -- but Mark somehow looks even worse: not just insincere but weak, vain and vindictive. The celebrity interviewees include Jane Fonda, Ron Howard, Julia Roberts, Michael Douglas, George Lucas, Billy Crystal and many more. (W.A.) Grade: C

Plays at 9:30 p.m. Saturday, HE; plays again at 5 p.m. Tuesday, HE

THE LAST MOGUL: The Life and Times of Lew Wasserman (Canada/U.S.): This documentary about the legendary Hollywood agent and power-broker boasts one of the most impressive lineups of interviewees ever, not just the usual movie stars and industry spokesmen but Mike Ovitz and several former U.S. presidents. Yet it's surprisingly not very good. It oversimplifies and sensationalizes just about every stage of Wasserman's career in the manner of an E! Channel exposé, and it uses glaringly inappropriate stock footage in scene after scene. It also can't make much sense out of the complex series of Wassermann moves that forever changed the movie business, or communicate a clear sense of his personality and style. (W.A.) Grade C-

Plays at 6:15 p.m., BPH; plays again at 1:45 p.m. Monday, BPH

OVERLORD (U.K.): With its uneasy blend of newsreel and dramatic footage, "Overlord" plays like a B-movie from the 1950s in which the director tries to cover his shortcomings with artistic pretensions. It is a personal account of one man's experiences in WWII, with stock footage used to simulate the combat scenes. Flatly directed sequences of the soldiers in boot camp don't mesh with spectacular shots of firefighters in a burning, crumbling city. John Alonzo's cinematography looks like television work compared to the aerial photography of bombers at work. The acting is as befuddled as the script, which seems to have been written in a trance. "To die in battle or of boredom; what's the difference?" a soldier asks himself on the way to Normandy. After 85 minutes of this claptrap, the audience may prefer Omaha beach to the movie theater. (B.W.) Grade: D

Plays at 7:15 p.m., HE; plays again Monday at 4:15 p.m., HE

ALSO PLAYING TOMORROW

PLATFORM (China) plays at 1 p.m., HE

THE 10TH DISTRICT COURT: Moments of Trial (France) plays at 1:15 p.m., Neptune

SUNDAY

NORTH KOREA -- A DAY IN THE LIFE(Netherlands): Told without narration, this brief documentary offers a quietly terrifying look at daily life in a North Korean city. A frightening portrait of this militaristic society emerges as the camera follows textile worker Hong Sun Hui and her family through an ordinary day. Nationalistic anthems blare out of speakers in public squares and subway platforms. Workers are humiliated for failing to meet impossible quotas. Anti-American propaganda is perpetuated on every available occasion, from a song sung on the way to school ("our powerful people's army makes the pathetic Americans fall on their knees and beg for mercy"), blame for the energy shortage ("our problems will not cease until the enemy is destroyed"), and an old man teaching his granddaughter phrases such as "kill the American dogs." When not planning to "destroy all American monsters everywhere," the North Koreans sing praises of the great General Kim Jong II, who is worshipped like a god. Plays with "Seoul Train." (B.W.) Grade: A

Plays at 1:45 p.m., BPH

ALONE (Germany): Call it, "Looking for Herr Goodbar." A young woman hops into bed with strangers more readily than taking the leap of faith required for intimacy. When she is courted by a dewy, golden-haired veterinary student -- in short, a nice guy -- she struggles with the inevitable conflicts between budding love and her absence of self-worth. Watching Lavinia Wilson's articulate performance as she swings between steelly aggressiveness and panic of the hunted is absorbing, even as the story slides along as one might predict. (G.T.) Grade: B

Plays at 6:15 p.m. BPH; plays again Monday at 2 p.m., BPH

MCDULL, PRINCE DE LA BUN (Hong Kong/China): Toe Yuen's surreal, modern fairy tale, about a twitchy, sweetly slow-witted piglet named McDull, shifts from mundane urban life (where the gently drawn storybook cartoon animals live in a photo-realistic CGI world) to offbeat fantasy. McDull takes the lead in his mother's bedtime story of a moronic prince who wanders out of his kingdom and tries to carve out a life with the "normal" folk, but must leave it behind to fulfill his destiny. Just like McDull's absent father. The satirical elements -- the piglet with a hyperactive leg twitch chants service industry slogans in kindergarten class -- are balanced by flights of fantasy and a wistful, longing quality to the film that explores the space left by loss. A gentle film, perhaps too obscure for young kids but otherwise family friendly. (S.A.) Grade: B

Plays at 3:45 p.m., Egyptian

THIS CHARMING GIRL (South Korea): A film suffused in melancholia, Lee Yoon-ki's minor-key drama is a delicate study in alienation and isolation in the wake of loss. Kim Ji-su is a young postal worker moving purely on auto-pilot since her beloved mother passed away (her memory haunts the apartment like a ghost) and she ran out on her honeymoon. She embraces familiarity like an emotional life jacket and may as well be absent from her obligatory lunches with co-workers. Not much happens in the story -- an almost date and a bar pickup just give her more opportunities to slip into ennui -- but Lee creates a lovely texture of self-imposed loneliness and paralyzing sadness. It makes for a sensitive portrait in depression. (S.A.) Grade: B

Plays at 4:15 p.m., HE; plays again Tuesday at 5 p.m., Neptune

WHISKEY ROMEO ZULU (Argentina): Only one thing in this film works, and it works so well that the botched narrative structure, insufficiently explained secondary characters, and a bizarre romantic subplot, hardly matter. Writer/director/actor Enrique Pineyo was an Argentine pilot who refused to fly the often unsafe planes. Pineyo's letter to management in which he predicted an inevitable air disaster became an embarrassment of international proportions to the company, and he was fired. In 1999, his warnings became a reality when an LAPA Boeing 737 crashed, killing 67 people. Although his skills as a filmmaker are muddled, his performance as himself is strong and sincere. He desperately wants to tell his story, and puts himself on the line to do so. Like a repressed memory unleashed under hypnosis, Pineyo's film plays like a shocking cry of discovery mixed with fragments of irrelevant detail. (B.W.) Grade: B-

Plays at 11 a.m., HE

CAPE OF GOOD HOPE (South Africa): Mark Bamford's multicultural romantic drama, set around the orbit of an animal shelter in Cape Town, offers an optimistic look at post-apartheid South Africa with a feel good, utterly conventional story. The shelter's driven founder (Debbie Brown) is a single woman in a humiliating affair with a married man. The intensely magnanimous handyman (Jean Claude LeReve) is a former astronomy professor from Congo who becomes a father figure to a rebellious adolescent. The widowed mother (Nthati Moshesh) he woos is battling a disapproving mama while balancing work, school and family. Our heroes are likable, decent people in tough spots and the villains are hissable hypocrites. The cultural backdrop is intriguing but there isn't a dramatic beat or a narrative "surprise" you can't predict with complete accuracy. (S.A.) Grade: C+

Plays at 6:30 p.m., HE; plays again Monday at 2 p.m., HE

HOLIDAY WEEKEND (Poland): Imagine the trailer: "He's a working-class soldier sentimental for the old days of Communist glory. She's a cultured Solidarity sympathizer with a grudge against the army. When they get together ..." Well, sparks don't exactly fly in this dry romantic comedy of opposites paired on a TV dating show for middle-age singles, but ideologies go to war over their holiday weekend getaway. The chummy but clumsy romantic (Krzysztof Globisz) celebrates May Day with a karaoke party of old-regime favorites while the stiff, severe librarian (Marta Walkowska) marks Constitution Day with a poetry reading. The schism in the Polish national identity is intriguing but so understated that it's hard to tell what the fuss is about, and the cliche-riddled battle is more cute than convincing. (S.A.) Grade: C

Plays at 9:15 p.m., BPH

PIZZA (U.S.): Grade: A- See Friday review. Plays at 4 p.m., BPH

THE STORY OF MY LIFE (France): Grade: B- See Friday review. Plays at 2 p.m., Neptune

ALSO PLAYING SUNDAY

SECRET FESTIVAL NO. 2 plays at 11 a.m., Egyptian

THE REAL DIRT ON FARMER JOHN (U.S.) plays at 11:15 a.m., BPH

SERGEANT PEPPER (Germany) plays at 11:30 a.m., Neptune

FLY FILMS plays at 1:30 p.m., Egyptian

MY STEPBROTHER FRANKENSTEIN (Russia) plays at 1:30 p.m., HE

RED DUST (South Africa/U.K.) plays at 4:15 p.m., Neptune

GOING THROUGH SPLAT: The Life and Work of Stewart Stern (U.S.) plays at 6 p.m., Egyptian